Belinda Carlisle returns to Pop with first English album in 30 Years; 'Once Upon a Time in California' drops Aug 29
'Once Upon a Time in California' pays tribute to vintage pop culture
The album is a deeply personal collection of cover songs that reflect Carlisle's musical upbringing in Southern California. It features reimagined versions of classics such as 'Anyone Who Had a Heart' by Burt Bacharach and Hal David, 'If You Could Read My Mind' by Gordon Lightfoot, 'Superstar' by The Carpenters, and 'Everybody's Talkin' by Harry Nilsson. Other tracks include 'The Air That I Breathe', 'Time in a Bottle', 'Never My Love', 'One', 'Get Together', and 'Reflections of My Life'.
Produced by Gabe Lopez—who previously collaborated with Carlisle on 'Wilder Shores,' the album blends nostalgia with fresh arrangements, offering a sonic tribute to the music that shaped her youth.
Belinda Carlisle's
new album
follows EP Kismet and Rock Hall induction
Carlisle's last major release was the 2023 EP 'Kismet', featuring songs written by Diane Warren. Her comeback into pop was greeted with widespread praise and fan excitement. Her legacy as among the most powerful voices of her generation was confirmed in 2021 when she was inducted into the Rock and Roll Hall of Fame as a member of The Go-Go's.
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Fans react to Belinda Carlisle's announcement with nostalgia and excitement
Carlisle announced the album on social media, writing: 'I'm so excited to announce my next single 'Get Together' from my upcoming album 'Once Upon a Time in California' will be out this Thursday, July 17, 2025! Stay tuned ❤️ #NewMusic #belindacarlisle'
Fans flooded the comments with messages like: 'Ooh baby, do you know what that's worth?' and
'My heart's been burning for you since the wild, electric days of Heaven on Earth.'
'Once Upon a Time in California' available for pre-order in multiple formats
The album will be released via Demon Music and is available for pre-order on CD, digital, and vinyl formats, including limited edition signed copies and sunset-coloured vinyl. Carlisle's UK tour Heavenly Hits will run from September 5 to 13, giving fans a chance to hear the new songs live.
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Indian Express
9 minutes ago
- Indian Express
‘Holes in dosas in everyone's house': What ‘Ghachar Ghochar' taught me about the Indian middle class
There are books that yell their message out loud. And then there's Ghachar Ghochar (2015) – a whisper that gets under your skin and stays there. Vivek Shanbhag's slim, devastating novella, translated from Kannada to English by Srinath Perur, charts the rise of a Bengaluru family from modest means to quiet affluence as it peels back the polished veneer of a 'successful' Indian family made and unmade by money. The tale is not of triumph; it is an eerie, delicate dissection of how prosperity and upward mobility, so often seen as the reward for hard work, can slowly dissolve the very foundation it was built on: love, loyalty, and the ability to distinguish right from wrong. The unnamed narrator, mostly inert and almost invisible in his own life, sits in a cafe, retracing the arc of his family's transformation – from scraping by on a modest salary to riding high on the profits of the so-called head of the family – the uncle and his flourishing spice business. Their house is larger now, the money flows freely, and yet, something is rotting beneath the surface. The arrival of wealth brought a strange entropy: the family's moral compass begins to spin out of control, and the same people who once struggled together grow increasingly isolated, insular, manipulative, and morally opaque. The house is larger now, but darker; conversations are quieter, but heavier; love remains, but it has curdled. Shanbhag doesn't use overt confrontation or melodrama to depict the subtle reconfiguration of it. He does it in glances, silences, and most effectively, in the narrator's growing discomfort. The family members, now cushioned by privilege, begin to shift in subtle but alarming ways – exerting power, drawing boundaries, and rationalising every questionable action as justified or necessary. And crucially, they don't even realise it. They believe they are still good people. The narrator, however, does know. He watches this mutation unfold with an unease he cannot name and a complicity he cannot shake. It's this tension – between knowing and doing nothing – that gives the book its haunted pulse. The family's transformation is neither sudden nor shocking – it is slow, almost graceful. That is what makes it unsettling. One of the most haunting aspects of Ghachar Ghochar is how normal everything feels. The family never indulges in overt displays of power. There are no villains here, no screaming matches. Just a slow, insidious reshaping of values as money replaces meaning. Conversations become colder. People are kept in check. Everything is done 'for the family' – a phrase used as both shield and weapon. At one point, when the family discusses someone who challenged their ways, the ease with which they speak about manipulation – of protecting themselves, of silencing threats – is chilling. Nothing is said outright, but it doesn't need to be. Shanbhag excels at creating tension through what is not said. The story plays out largely within the walls of the family home and a small cafe where the narrator retreats for solitude. It's there that he encounters Vincent – the cafe's calm, enigmatic waiter who offers the only real wisdom in the book. Vincent doesn't say much, but his words are razor-sharp. Through one-liners and quiet observations, he functions as the narrator's unacknowledged conscience. The narrator's passivity becomes the book's greatest tension. He is not the instigator of harm, but he is a silent witness. He benefits from the system he knows is rotting. It's in this cafe that we also sense the narrator's internal split: he knows his family has lost its way, that the wealth has contorted their sense of right and wrong, but he cannot – or will not – stand apart from it. He is not evil, not cruel, but complicit. 'Holes in dosas in everyone's house, sir,' Vincent says early on. The narrator keeps connecting his one-liners to his life. Later, his final words to the narrator cut like a knife – not a rebuke, but a truth so clear it's impossible to forget. 'Sir, you may want to wash your hand. There's blood on it.' In a book filled with half-truths and rationalisations, Vincent's voice stands out: unambiguous, honest, and terrifying in its clarity. He never accuses, but he sees. It's a discomfort that mirrors the larger Indian middle-class condition: caught between old-world ideals and new-world aspirations, clinging to the illusion of moral high ground while making peace with transactional realities. The narrator's family is not unlike many real ones – seeking success without scrutiny, comfort without consequence. Their rise is not unusual. What makes it remarkable is how carefully Shanbhag shows its cost. 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Shanbhag captures this with quiet brilliance: a family that once huddled together in adversity now builds walls to keep others out. The novella also offers a stark portrayal of how women are treated when they defy these invisible codes. The narrator's wife Anita – an outsider, observer, and moral compass – questions the family's choices, pushing him to confront what he's ignoring. But her voice becomes increasingly unwelcome in a household that has no appetite for dissent. Her honesty is a threat; her clarity, an intrusion. And eventually, like all inconvenient truths in tightly sealed worlds, she is pushed to the margins. A woman who arrives at the family home, seeking acknowledgment and dignity, is quickly painted as a threat. She is mistreated, but not violently – she is simply erased. That, Shanbhag seems to suggest, is often more dangerous. Violence leaves bruises, erasure leaves nothing. And so, when the climax comes, it is quiet. No confrontation, no moral reckoning. 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Time of India
20 minutes ago
- Time of India
Steve Jobs' daughter Eve arrives late at her own wedding and takes a secret entrance – here's why
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Time of India
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‘Salman Khan was holding my throat with a real knife,' recalls Ashok Saraf as he opens up on a terrifying incident on the sets of ‘Jaagruti', says, 'Aise aadmi kisi ko yaad nahi rehte'
Veteran actor Ashok Saraf, fondly remembered for his impeccable comic timing and for the iconic television show 'Hum Paanch' amidst many movies has also done a negative role in his career, This was for the 1992 Salman Khan starrer Jaagruti. But what was meant to be just another scene turned into a terrifying real-life incident, one that Saraf says he will never forget. 'Jaagruti' starred Karisma Kapoor opposite Salman. In a chat with Radio Nasha Official, Saraf opened up about a near-fatal moment while shooting a tense scene. The actor revealed that while filming, a real knife was used, and things went awry when Salman Khan gripped his throat a bit too hard. 'He was holding my throat with a knife and it was a real knife. Uski jo nok hoti hai vo kaat ke gayi aise… As soon as we started saying the dialogues, I tried to escape from his hands. Salman zor se daba rahe the and then I said, 'Dheere se dabaao, katt raha hai yahan par,'' Saraf recalled. Despite the warning, the shoot continued. Saraf tried to suggest a safer way to hold the knife, but the camera angle didn't permit a change. 'He then asked me what he should do, maine bola ulta pakdo na. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas Prices In Dubai Might Be More Affordable Than You Think Villas In Dubai | Search Ads Get Quote Undo He said that the camera is facing towards us, dikh jaayega usme, then maine socha chhorro.' They completed the shot, but the damage had been done. 'We did the scene and when I saw later, there was a deep cut on my throat. Agar yahan ki nass katt jaati toh hum udhar hi…Main kabhi nahi bhoolunga.' Saraf added that he's unsure whether Salman even remembers the incident, quipping, 'Aise aadmi kisi ko yaad nahi rehte, bhool jaate hain.' Jaagruti, also starred Shiva Rindani, Pankaj Dheer, and Prem Chopra apart from Salman and Karisma. Despite the scare, he continued working with Salman in several hits like 'Karan Arjun', 'Pyaar Kiya To Darna Kya', and 'Bandhan.'
